Hump Day Hot Ticket: Lux Terminus “Epilogue: Fly”

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Band photo

I know it's been a while since I have worked on this feature, but sometimes it takes something really exceptional to get the spark of inspiration going again.

That special something is called Lux Terminus, an instrumental prog band formed by 3 musical prodigies from Cleveland, Ohio. To prove that this term isn't just being thrown around lightly: the band's debut album features some pretty impressive guest stars, such as Delain's Timo Somers, and former vocalist of The Gathering, Anneke Van Giersbergen (the latter of whom provides the only vocals you will hear on the entire album).

That being said, the video I am reviewing is for “Epilogue: Fly”, that one song with vocals. The reason I decided to write this as a video review instead of just posting some nice words on the band's social media is because I want to prove how music can change minds and open hearts. I want to show that my reactions are sincere, because while my initial opinions on certain things will probably never change, that doesn't take away from the positive viewpoint I also have about other things.

On that note, I should probably explain what I mean.

For over 13 years, I have written for Sonic Cathedral, a site that specializes in female-fronted metal bands. I have been a fan of this scene for far longer than that, so I know my history rather well, know who the movers and shakers are, so on and so forth. In regards to the gothic/symphonic scene that began in the 1990s and gave way to bands like Nightwish, Within Temptation, Lacuna Coil, and so many others, The Gathering and Anneke Van Giersbergen have constantly been cited as the founders of this movement. Much like what “The Big 4” are to thrash metal, The Gathering is among a small group of bands that went on to influence the bands that would become the stars of the scene. A band that garners a lot of respect in the scene, a band that everyone takes for granted that we all like because we are fans of this music. However, if you have ever read this blog or know me remotely at all, you can probably sense where this is going.

Over the years, hard as I have tried, and as much as I have given it a chance, I could not get into The Gathering. More than that, I could not hear what was so great about Anneke's voice. When she did the duet of “Somewhere” with Sharon den Adel, vocalist of Within Temptation, everyone else heard the “best duet ever”, but I was left wondering if I was hearing the same thing. To me, her voice always sounded the way a bland meal tasted; it wasn't bad, but something was off with the seasonings, and if just a little more salt or pepper was added, it would be quite a tasty dish. Whenever I listened to her music, I always felt as if this intangible quality was missing. Any time she had a new band or project, I would listen, thinking that maybe it wasn't the right lineup before, and she would do something that would turn on the figurative lightbulb for me and shine a light on what I had not recognized before. Because of her standing in a scene that I followed so closely, I probably gave Anneke more chances to win me over than anyone else would, but it just never happened.  I finally just accepted that Anneke would be one of those vocalists that I respected for her contributions, but one I would never “get” or fully appreciate.

Or maybe, just maybe, I had to wait for Lux Terminus to show up.

One thing I do know: Lux Terminus keyboardist Vikram Shankar is a musical genius, and that is also not a phrase I throw around loosely. For as young as he is, he has such a mature and insightful style that it took years for many of his contemporaries to reach. Whether he is playing his own material or making piano-only covers of metal songs, Vikram owns it and it will pierce you right in your heart if you aren't prepared. So when he takes that masterful style and wraps it around Anneke's voice, it is truly something wonderful.

I also have to give props again to Wayne Joyner, who put this video together. The beautiful imagery of sunny skies, clouds, and city skyscrapers just drive it home visually, what has been captured lyrically and musically. I'm just the no-talent hack who has to find the words to describe this beauty, and I am honored to be let into this world for the last 4 minutes!

So, does this mean I have converted as an Anneke fan? No, but I do have a new appreciation for her voice that I never had before. When I first heard about her involvement in this project I prepared not to expect very much with that particular track. Instead, I was blown away, and it was another reminder that one can never become too complacent with music. Something always comes along to jolt you out of a rut or remind you of the things you love about music in the first place. I don't need to be a fan of Anneke to like what I hear, and now, if I were to hear she would be working with Lux Terminus again, I would not be disappointed.

Though, to be honest, I'm still holding on to hope that their next collaboration will be with Snoop Dogg.

For more information on Lux Terminus, or to pre-order their album The Courage to Be, visit their official Facebook page.

Special thanks to Vikram Shankar and Wayne Joyner.

Album review: Thrillkiller—San Francisco Moto (2018)

Album cover

Surprise, everyone—I'm back! Did you miss me? Probably not. At any rate, here I am, back again after a long six months, writing reviews that no one will see. But that's OK, because I like writing them!

For the few of you that have been loyal and do read my reviews, then you know that one of my favorites to talk about is Thrillkiller, from Baltimore. Their music is such a breath of fresh air in a scene that oftentimes paints itself into a corner or pigeonholes itself once they latch on to a particular sound.

Finding a particular sound is something Thrillkiller has done, and done well. Taking sounds from ’80s pop and funk, mixing it in with the high energy of guitar-based classic rock, and putting 21st century swagger on top, Thrillkiller's multi-faceted sound harkens back to the days when MTV ruled the world; yet never sounding dated or gimmicky, which is no easy feat for any band specializing in throwback sounds.

It is a fine line between paying homage and becoming a novelty act, but Thrillkiller does this balancing act so effortlessly, it feels as if they jumped into the time-traveling DeLorean, brought back everything good from the ’80s, and gave it a revved-up modern gloss. The proof of this starts from the get-go with the opening track, “Theme of Rex Razor”, a short instrumental piece centered around those vibrant, futuristic-sounding synths, coupled with that bluesy guitar sound that is smoldering yet smooth at the same time.

The second song is one that readers may already be familiar with, as it was the first single from San Francisco Moto, released nearly a year ago, and a song I reviewed here: “The King of 1984”, a tune I cannot say enough about because it so perfectly encompasses all of the descriptions I have given this far of the band's music. It's a catchy pop-inspired earworm that can give some of the best ’80s jams a run for their money, while also a hard-rockin’, fist-pumping rock anthem that makes you want to bust out your lighters and raise them high into the air.

The second single and EP title track continues more on a similar theme with the funky bass, soulful guitars, and fiery vocals; but “San Francisco Moto” takes a different turn by adding some sultry sax and a danceable beat. If I had to describe it, to me it is as if the 1980s versions of Michael Jackson and Lionel Richie got together to create the perfect rock song that you can groove to at the same time. It's got that same jazzy disco vibe, while giving us those poppy melodies that “burn rubber” in your brain long after the song has finished.

For all their funk/dance/pop influences, Thrillkiller is still a hard rock/heavy metal band at heart, and they make sure you don't forget it. “Last Horizon”, the EP's penultimate track, is Thrillkiller's heavier side at its finest, with that menacing interplay between Maxim's guitars and Rob's vocals, which always makes me feel like I am listening to the soundtrack to a spy movie or an action thriller.

The EP closer, “Wicked Rhythm”, is a blend of both sides of Thrillkiller: the rock side with the R&B side, and it is catchy as hell. It sounds like a cross between their songs “Passion Killer”, and “In Too Deep” (a song I proclaimed to love so much that I said I would marry it if I could!). Again, I am reminded of a movie scene: this time, it would be during one of those scenes where the main character is strutting down the street after taking down some bad guys, or trying to impress a girl. This hybrid of the band's different influences makes for a perfect way to close out this EP.

What I love about Thrillkiller is that their music is so much fun! It is music you can clap along with and stomp your feet to, and maybe even dance, if you are able. It's got sing-along verses and choruses, and hooks that stick in your head. Thrillkiller has taken everything memorable that we still love about the ’80s, scrapped everything that we now consider cheesy and over-the-top, and crafted their own unique take on those classic sounds with their own modern style. San Francisco Moto is only a 5-song EP, but it is chock-full of different sounds ranging from rock to synthpop to dance. The band has had somewhat of a revolving door of drummers throughout their short time together as a band, but the core foundation of Rob and Maxim, joined with Sebastian, is still solid and has not lost any footing throughout those changes. Quite the contrary, in fact: Thrillkiller keeps getting better and stronger as they move forward, paying tribute at the toll road of the past as they burn rubber on the fast track into a bright future.

Band photo

Visit the band's official website.

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Special thanks to Rob Bradley.

All photos provided courtesy of Thrillkiller.